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Singles 06-07

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Jay Reatard

 
Singles 06-07
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Jay Reatard's exceptional 7-inch singles finally get compiled.

  • We Say...

    Memphis control freak Jay Reatard emerged as an instant legend in indie-garage circles in the past couple years, and he did it the old-fashioned way — through dangerously unhinged live shows and a pile of 7-inch singles you’ll probably never find. That they’ve tended to come out in limited editions on a panoply of tiny labels has only helped his cause. As has the fact that he plays 99.9999 percent of the instruments on them himself.

    Singles 06-07, which crams 17 of those sides into just 38 minutes, makes the hunt easier. It also makes clear that Reatard is an avid student of lost but frantically catchy corners of the punk rock & roll universe: “Feeling Blank Again” and “In The Dark” sound like retoolings of classic tracks by the UK’s great Adverts (“No Time To Be 21” and “Bombsite Boys,” respectively); “I Know a Place” could be a miracle outtake from Gary Numan’s Tubeway Army; "Oh It’s Such a Shame” builds an extended guitar shimmer around helium hiccupping that’s a ringer for forgotten 1979 A&M footnotes the Secret. Other songs suggest the Buzzcocks, or Vibrators or very early XTC.

    What they’re about is another question, though titles like “Feeling Blank Again” and “It’s So Useless” and “All Wasted” provide a pretty good clue. Teen angst lives, in other words. Which is to say “Night of Broken Glass” probably does not concern Germany in 1938, though if you want to take it that way, go ahead — it’s certainly intense enough.

  • They Say...

    Jay Reatard's first solo record, Blood Visions, was a big step forward for the noisy, bloody rocker. A furious jerked-out full-frontal attack of noise and hooks, it served notice that Reatard meant business. He spent the year after the recording of the album making singles for a variety of labels like In the Red, Goner, Squoodge, P. Trash, and Stained Circles. Singles 06-07 collects them all and throws in a DVD of live performances, including his infamous night at the Cakeshop in October of 2007. The singles contain all of the energy and abandon of the album, but Reatard tempers his previously monochromatic art-attack with some well-timed sonic sophistication and songwriting variety. That's not to say he's suddenly traded in his Flying V and sweat for a pipe and slippers, but it does mean that on a few songs he trots out some acoustic guitar and dials his howling yelp down to a vulnerable whine. He covers a Go-Betweens song ("Don't Let Him Come Back"), essays a tender love song ("Searching for You"), and even jangles a little (the super-poppy "I Found a Place"). This surprising subtlety only tells a small part of the Reatard story. He still rocks like a man possessed much of the time on songs like "Night of Broken Glass," "Turning Blue," and "It's So Useless." Indeed, Reatard is still creating storming modern garage rock-new wave nuggets; he just does it with less clatter and more precision and focused power now. Looking back at his 2006 and 2007 music makes it obvious that Reatard has taken an impressive step forward, and this points to more great records down the road.

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